In evaluating loudspeakers for both of these spaces, Edwards and Anderson wanted a true real-world approach in the form of live demonstrations of every viable component, and within the Guthrie environment. Not only were these demos live, but they also were held in a true “blind listening test” format involving a number informed theater personnel.

”We made these tests as blind as possible, so no one would know what they were hearing and therefore could not have any preconceived notions or prejudices impacting their opinion,” Edwards explains. “We even invited people from the community to participate in this process. After getting their votes, we asked everyone what product brand they thought they had chosen as ‘best,’ and it was fun seeing their reactions when informed of the brand they’d actually chosen.

“This process was really an eye-opener,” he continues. “Sound is so subjective, and there’s so much psychology involved, that it’s vital to try to make your judgments as objectively as possible. Sometimes you can’t articulate why you like something better than something else, but that’s indeed the way it works. And the interesting thing is that we all generally ended up agreeing on what we liked. Taking the subjectivity out of the process was great, and it really validates our decisions.”

The demo process provided additional insight. The small line array tests, in particular, featured some manufacturers refusing to participate, with others wanting to try to get around the spirit of the idea by providing inordinately elaborate (“tweaked up”) rigs.

“Some of them thought we were setting up this process to dovetail to our own preconceived notions, when nothing could be further from that,” Edwards says. “In fact, we were doing everything possible to remove those notions in order to do the most honest evaluations that we could devise. And, we allowed each participant to have a qualified tech on site to make sure the products were indeed being run correctly. The ironic thing is that the rigs that were tweaked up the most fared least well.

Besides the objective results, this process was also invaluable in providing insight into what kind of future relationship the Guthrie team could expect from these companies, he further states, adding, “Would there be open, honest dialog, or would there be problems? We value the manufacturers we work with as colleagues, to discuss current and future developments, to provide our input, and to receive their input.”

EAW emerged from this process in a highly positive light, and as a result, a wide range of EAW loudspeakers are utilized for both the Wurtele and McGuire stages. “We developed a very strong connection with EAW as a result of this process, and since that time, they’ve been great about staying in touch with us, asking if we have any problems and finding ways to be of help,” Anderson says.

Loudspeakers abound in the Wurtele stage, with EAW KF730 compact line arrays (seven modules per side) and companion SB730 subwoofers (four per side) flown stage left and right at the proscenium. These generally are utilized for music programming and for effects, while other loudspeakers formed into a central cluster provide main spoken word vocals.

EAW JF60z compact loudspeakers provide underbalcony reinforcement, and these can also be repositioned to provide surround when desired for certain productions. EAW UB82e compact, low-profile loudspeakers mounted within the acoustical panel structure over the balcony bolster coverage to the furthest seats. All of these loudspeakers are time-aligned with respect to the cluster.

The McGuire offers a left-center-right loudspeaker approach, with KF730 line arrays (seven modules per array) flown above the wide proscenium. Low frequencies are provided by flown arrays of SB730 subwoofers (four per array), and these a pretty much concealed from view by draping that drops from the ceiling.

Single EAW KF300z compact three-way loudspeakers flown at the bottom of each sub array provide fill to the extreme side/front audience areas. Several ultra-compact EAW UB12Se loudspeakers mounted in cut-outs on the face of the stage reinforce the first rows while also helping to “anchor” vocals more tightly to the stage. Coverage to the rear of the balcony is enhanced with three EAW JFX290i compact two-way loudspeakers, delayed in relation to the main arrays.

All of these loudspeakers are driven by Lab.gruppen C Series power amplifiers. Designed specifically for fixed installations, these four- and eight-channel units also offer network monitoring and control via the company’s proprietary NomadLink and DeviceControl software.

Also on hand as a shared resource for the performance spaces are six EAW SM200iH stage monitors, four EAW KF300z full-range loudspeakers and two subwoofers. These come in handy in filling a variety of needs; for example, to provide additional effects from backstage if wanted.

The backbone of all audio systems in the Guthrie is a Nexus system from Germany-based Stage Tec. The Nexus system is a TDM (Time Division Multiplex) providing centralized audio routing and conversion, facility-wide audio distribution over fiber-optic interconnects, as well as a data backbone for system management. The Nexus system also incorporates Base-device frames tied into the Guthrie’s two Stage Tec Aurus digital consoles that provide hundreds of inputs and outputs for routing or format conversion.

“We’ve certainly got all of the tools necessary to provide world-class audio quality, and the entire team deserves full credit in making our dreams into a reality,” Edwards concludes. “And that reality is a venue providing unlimited creative possibilities, where you don’t have to think about ways of doing something or getting around challenges – just plug in, and it works.”

(All photos accompanying this report by Keith Clark. Check out the September '07 issue of Live Sound magazine for an even more comprehensive look at audio for the Guthrie Theater.)